Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Jamaica and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Houston.
I'm losing my edge to the art-school Cairo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Rod Modell to the grime kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Andrew Ashong & Theo Parrish. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Negative Approach,
John Lydon,
Roxette,
Al Stewart,
Swans,
Livin' Joy,
X-102,
Nas,
London Community Gospel Choir,
Amon Düül,
Kaleidoscope,
Skaos,
Scratch Acid,
Brass Construction,
Soft Cell,
Delta 5,
the Germs,
Scott Walker + Sunn O))),
Crash Course in Science,
Thinking Fellers Union Local 282,
Das Ding,
Amon Düül II,
CMW,
Glambeats Corp.,
Danielle Patucci,
Japan,
Pharaoh Sanders and the Fire Engines,
Zero Boys,
Albert Ayler,
The Beau Brummels,
Ultramagnetic MC's,
Crime,
Dual Sessions,
Model 500,
Aswad,
Lalann,
Josef K,
The Toasters,
Black Pus,
Urselle,
Bill Wells,
Bizarre Inc.,
Skriet,
Pantytec,
Yaz,
Grey Daturas,
Röyhkä ja Rättö ja Lehtisalo,
the Bar-Kays,
The Moody Blues,
June of 44,
FM Einheit,
Minny Pops,
Rites of Spring,
Rod Modell,
Soulsonic Force,
The Music Machine,
Mary Jane Girls,
Todd Terry,
The Real Kids,
Swell Maps,
Technova, Technova, Technova, Technova.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.